Page:Pictorial beauty on the screen.djvu/197

 movement of the actors during any one moment of the picture is likely to be discounted by the gamboling of a lamb or the breaking of a sea wave during the next minute.

The sea and surf possess a perfectly rhythmical motion which one may watch for hours without becoming weary. And the effect of that motion may well be heightened by composing it with other moving objects so that the various motions taken together will harmonize in directions, shapes, and velocities. Such composition was very well done in the climactic scenes of "The Love Light," the Mary Pickford play directed by Frances Marion, who also wrote the story. Views of the sea breaking on the shore are shown time and again throughout the play, but the most impressive scenes are near the end where a sailing party lose control of their sloop in a storm and are shipwrecked on the shoals. Here the principal moving objects partake of the movements of the sea and therefore harmonize with it in tempo. The vessel rises and falls with the waves. The people above and below decks sway and lurch with the same motion. The water which breaks through the hatches and trickles down the companionway describes the same shapes and flows with the same rate as the water which breaks over and trickles down the rocks. The total effect is a single impression of motion in which the separate parts parallel and reinforce each other. And this total impression is sustained through many scenes, even though the position of the camera is often shifted and the subject is viewed from many angles. This cinematic climax is a good example for readers to keep in mind when they set out through the movie theaters